"Coco Gauff's agent misunderstood when she said she wanted to be written about in textbooks" - American ... - Sportskeeda - Dictionary

Coco Gauff's unexpected collaboration with the Merriam-Webster dictionary has prompted hilarious reactions from tennis fans.

Gauff, who is on the hunt for her second Grand Slam title, is through to her maiden Australian Open semifinal. The American progressed to the last four by battling past Marta Kostyuk 7-6(6), 6-7(3), 6-2 in three hours and eight minutes.

Following her triumph, the social media handle for Merriam-Webster, the oldest dictionary publisher in the United States, posted a cryptic message, encouraging Coco Gauff's fans to look up the definition of the word 'love' on their website.

"If you’re a tennis fan and you’re still pumped about @CocoGauff beating Marta Kostyuk on Monday, you should look up the definition of ‘love’ on our website. Just saying…," Merriam-Webster posted on X (formerly Twitter).

Tennis fans promptly did just that, discovering a clip featuring the 19-year-old, where she read out the general definition of the word 'love' and its meaning as a score of zero in tennis.

After reading out both definitions, the World No. 4 joked:

"While I love being in love, I hate being at love."

Fans were amused by Coco Gauff's unique collaboration with Merriam-Webster, with several of them poking fun at her agent's apparent decision to secure the partnership.

"I think Coco's agent misunderstood her when she said she wanted to be [written] about in textbooks," a fan commented.

"Damnnn Coco's agent is WORKING," another fan chimed in.

Another fan was baffled by Osaka collaborating with a dictionary, describing her as "amazing" for the unconventional partnership.

"This is insane like who tf collabs with THE dictionary. She's amazing!" the fan posted.

Here are a few more reactions from fans:

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"Aryna Sabalenka will be much tougher mentally...it’s going to be really tough for Coco Gauff to win the Australian Open SF" - Martina Navratilova

Coco Gauff at the 2024 Australian Open

While Coco Gauff needed three closely contested sets to defeat Marta Kostyuk in the quarterfinals of the Australian Open, her semifinal opponent, Aryna Sabalenka, eased into the last four with a dominant 6-2, 6-3 win over Barbora Krejcikova.

With Sabalenka not dropping a set en route to the semifinals, Martina Navratilova opined that she was in a "much stronger" position heading into the blockbuster clash against Gauff.

The 18-time Grand Slam champion also expressed her belief that the Belarusian will be more mentally resilient in Melbourne, avoiding the pressure from the crowd that seemingly played a part in her defeat to Gauff in the 2023 US Open final.

Navratilova expressed doubt about the American's ability to claim victory in the semifinal, considering the defending champion's commanding run at the Major.

"I think Sabalenka will be much tougher mentally. I don’t think she'll let whatever happens to the crowd get to her the way she did at the US Open. Same time Coco not playing as well, particularly in this last match, so it’s gonna be a test of the mental fortitude more than anything," she said on the Tennis Channel.

"But the way Sabalenka’s been playing, I think it’s going to be really tough for Coco to win [the Australian Open SF] even though she’s been better in these stressful situations before," she added.

The winner of the match between Coco Gauff and Aryna Sabalenka will take on either Zheng Qinwen or Dayana Yastremska in the Australian Open final.

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From Japan To The World: How To Translate A Game - Barron's - Translation

With the majority of sales for big games now outside Japan, the country's game developers must consider everything from slang words to characters' costumes for a global audience

Richard A. Brooks

Photos by Richard A. Brooks

Behind the global success of Japanese video games lies a delicate task: appealing to overseas players whose expectations on issues such as sexism are increasingly influencing the content of major titles.

With the majority of sales for big games now outside Japan, everything from slang words to characters' costumes must be carefully considered for a global audience.

It is a complex process that has come a long way since the "Wild West" of the 1980s and 90s, one high-profile "localisation" team told AFP.

"There were no rules, no 'industry standards', and the quality of localisation could vary greatly from one title to the next," said the SEGA of America team who worked on "Like a Dragon: Infinite Wealth" -- the latest title in the hit "Yakuza" series, releasing on Friday.

Back then, translators faced constraints including too-small text boxes, and sometimes game developers did the job themselves in less-than-perfect English.

It also meant that many games from the era, especially dialogue-heavy ones, never made it out of Japan.

"Thankfully, the industry -- and perhaps more importantly consumers -- have changed a lot since those days, and we are now able to be more faithful to the cultural and emotional content of Japanese games than ever," the SEGA team said.

Localisation is now integral to the design process, with international gamers in mind from the start.

One key example is "how Japanese game developers dress their heroines" as the #MeToo movement changes mindsets, said Franck Genty, senior localisation manager at Japanese game giant Bandai Namco.

"We tell them that the cleavage is a bit too exposed, or the skirt is a bit too short," he told AFP.

"Before, they weren't very flexible, but they've become more proactive on such subjects."

The puzzle of game localisation affected the 1980 arcade sensation "Pac-Man", with the direct translation "Puck Man" deemed too risky because it could be vandalised.

Games such as Final Fantasy that involve fantasy worlds offer some flexibility in their adaptations

Richard A. Brooks

Some top-selling games including Mario, Final Fantasy and Pokemon involve fantasy worlds that are not overtly Japanese, offering some flexibility for their adaptation.

But the task becomes trickier for series such as "Yakuza", which are set in real-life locations and use slang from Japan's underworld.

Getting it right is important: around 70 percent of revenue from recent titles in the "Yakuza" series is from overseas.

But in recent years, booming interest in manga comics, anime cartoons and wider Japanese culture has made the job easier.

"People know what ramen is now... we don't need to say 'noodles' any more," Genty said.

His team at the European headquarters of Bandai Namco has adapted games including the "Tekken" fighting series and the smash-hit role-playing game "Elden Ring" into a dozen languages.

The job is as much a cultural challenge as a linguistic one, said Pierre Froget, localisation project manager at Bandai.

"The player, whichever country they're from, should understand and feel the same thing as someone playing in the original language," he said.

A better understanding of Japanese culture among players means adaptations can be more subtle -- the "Yakuza" series is now called "Like a Dragon", closer to the original Japanese.

LGBTQ caricatures and sexist cliches have also been axed.

"Many representations which were normal in Japan in the first 'Like a Dragon' games are no longer acceptable today," Masayoshi Yokoyama, the series' executive producer, told AFP.

"We ask our teams in the United States and Europe to read the game's script, and they tell us if they see things that wouldn't be acceptable in their country," he said.

Changes often focus on "alcohol, politics or religion", Froget said, while cultural reference points also differ.

"When there are people dressed in black boots and big leather coats, in Europe that could bring to mind a Nazi uniform," he said.

With global release dates now the norm, these decisions must be made under tighter deadlines than before.

And despite improved communication between developers and localisation teams, challenges remain -- especially when translating a game into languages other than English.

"Efforts have been made to understand the needs of the English-speaking world," Froget said.

But for German, which has longer sentences and other linguistic quirks, localisation is sometimes "seen as an extra difficulty" by design teams.

Even so, Froget believes in his mission: "To create connections to Japanese culture and help Europeans discover its depth, while respecting both the game and the player."

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